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CHIROT ZERO ZINE--ANNOUNCING NEW BLOG

Dear Followers, Friends, fellow Workers:

I have just begun a new blog/zine calledChirot Zero Zine A Heap of Rubble--Anarkeyology of hand eye ear notations---http://chirotzerozine.blogspot.comthe blog is more exusively concerned than this one with presenting essays, reviews (inc. "bad reviews") , Visual Poetry, Sound Poetry, Event Scores, Manifestos, Manifotofestos, rantin' & raving, rock'roll, music all sorts--by myself and others--if you are interested in being a contributor, please feel free to contact me at david.chirot@gmail.comas with this blog, the arts are investigated as a part of rather than apart from the historical, economic, political actualities of yesterday, today, & tomorrowas with al my blogs--contributions in any language are welcome

Free Leonard Peltier

The government under pretext of security and progress, liberated us from our land, resources, culture, dignity and future. They violated every treaty they ever made with us. I use the word “liberated” loosely and sarcastically, in the same vein that I view the use of the words “collateral damage” when they kill innocent men, women and children. They describe people defending their homelands as terrorists, savages and hostiles . . . My words reach out to the non-Indian: Look now before it is too late—see what is being done to others in your name and see what destruction you sanction when you say nothing. --Leonard Peltier, Annual Message January 2004 (Leonard Peltier is now serving 31st year as an internationally recognized Political Prisoner of the United States Government)

VISUAL POETRY/MAIL ART CALLNo Sieges, Tortures, Starvation & SurveillanceGAZA-GUANTANAMO-ABU GHRAIB—THE GLOBE Deadline/Fecha Limite: SinsLimite/ongoing Size: No limit/Sin Limite No Limit on Number of Works sentNo Limit on Number of Times New Works Are SentDocumentation: on my bloghttp://davidbaptistechirot.blogspot.com Addresses: david.chirot@gmail.comDavid Baptiste Chirot740 N 29 #108Milwaukee, WI 53208USA

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'

Miss Universe Visits Guantanamo: 'A Loooot Of Fun!'

The current 'Miss Universe' Dayana Mendoza (formerly Miss Venezuela) and 'Miss America' Crystal Stewart visited US troops stationed in Guantanamo Bay on March 20th, the New York Times reports. Here's Mendoza's account of the visit from her pageant blog last Friday. She says the trip "was a loooot of fun!"

This week, Guantánamo!!! It was an incredible experience...All the guys from the Army were amazing with us. We visited the Detainees camps and we saw the jails, where they shower, how the recreate themselves with movies, classes of art, books. It was very interesting. We took a ride with the Marines around the land to see the division of Gitmo and Cuba while they were informed us with a little bit of history.

The water in Guantánamo Bay is soooo beautiful! It was unbelievable, we were able to enjoy it for at least an hour. We went to the glass beach, and realized the name of it comes from the little pieces of broken glass from hundred of years ago. It is pretty to see all the colors shining with the sun. That day we met a beautiful lady named Rebeca who does wonders with the glasses from the beach. She creates jewelry with it and of course I bought a necklace from her that will remind me of Guantánamo Bay :)I didn't want to leave, it was such a relaxing place, so calm and beautiful.

Saturday, September 09, 2006

The film LUMUMBA: DEATH OF A PROPHET was shown in in the Union Art Gallery at University of Wisconsin-Milwaukee, surrounded by close to a hundred paintings from the Congo echoing many of the films' themes. "Colonialism gives with one hand and takes back with the other," says one interviewee in the film, showing this with rapid hand gestures. With one hand--independence, Lumumba, self-determination. With the other--the assasination of Lumumba (17 January 1961) , the dictatorship of Mobutu (1965-97) and continued control by Belgian and American interests. The film gives a chilling and bitter sense of how the destiny of a people, a nation, was hijacked and has been held back forty years, how the chains of colonialism have barely been loosened in all this time, before descent into the bloodiest war since WWII (mid 1990's-present cease fire).As so often happens, the brutal suppression of Lumumba's vision of Congolese self-determination has made his figure grow ever larger and more powerful in meaning in death than it had been in life. As a martyr, through his death the presence of Lumumba will never die. This is evidenced in a great many of the art works hanging on the walls of the gallery. An informal hagiography of iconic images has grown up around the story of Lumumba's life and death, with series depicting its stages, not unlke those that depict scenes in the life of Christ leading up to the concentrated series of the Stations of the Cross. But the similarity is biographical only, not in the imagery, which is based on a contemporary iconography drawn from the popular press. Throughout the various genres of paintings in the exhibition, much of the iconography is based on images from popular sources--magazines and newspapers primarily, as well as already existing popularized painted images of Lumumba and Mobutu and others. (During the thirty-two yeras of Mobutu's reign, his image was not only on every monetary bill, governmental building wall, commercial building wall, but also on almost all the clothing worn by the citizens.)One of the most striking aspects of the show is that the works have a collective feel to them--the artists seem to stand back as individuals from their subjects, at a remove from them; perhaps using the already existing imagery helps with this effect. There is little indication of an individual artist's style/persona moving from picture to picture. (I thought this also might be an effect of the massive oppression of any identity other than Mobutu's.) In the same way, except for the very stylized images of Lumumba, Mobutu and a few generals, most of the people portrayed are anonymous, generalized figures. The few portraits shown emphasize not the features of the sitter, but the clothing and jewelry worn, which indicate social status. The overwhelming poverty of the society isn't shown simply in the images themselves, (poverty stricken streets, looted and closed stores), but in the very materials of the paintings. For example, most of the paintings, though done in oils, are not on canvas at all, but on various fabrics, usually remnants, and flour sacks. The paints used are limited in range of colors--as though not many are readily available. This restricted range of colorings emphasizes not only the sense of poverty, but also of the oppression of the Mobutu years and the extreme brutality and slaughter of the war years of the last decade. It's as though the brightness of rangings of colorings have been bled out, leaving a predominance of dark greens, somber reds, earth browns,blacks and some dark blues. The effect is often menacing. Two more recent genres which have made their appearance and are featured in the show are large war scene paintings and scenes of widespread urban looting. There are also several paintings, some done as tryptichs in a gallows humor vein, of the rise and fall of businesses due to foreclosures. In the tryptich's final scene, the humiliated merchant is often shown in front of his closed up store being whipped in the street in front of his former customers.A lot of the paintings are done by people who also make their livings doing signs for shops and itinerant small businesses. The influence of sign painting can be seen in the sense of a flattening out of space and conventional perspective that heightens the feeling of raw immediacy. Instead of appearing to be the individual, privileged artist's "recollections in tranquility", the images have the energy and force of a collective witnessing of a massive social trauma. This is a war not only of guns but of images as well, with the continual recurrence of Lumumba's image the sign of a vision that will never die. It's an exhibition I know is going to reverberate with me for a long, long, long time.(Keep in mind, the exhibition is not representive of all genres of paintings in the Congo, but as the title says, focuses on "Patrice Lumumba in Urban Art" and areas related with this.)

"Paint Bombs In Aita" Relief work and stencil grafitti artist Arofish, whose work appeared in my previous entry, just mailed this, which can also be found as part of his "Scrawls of War" series of Albums at http://www.arofish.org.ukArofish writes:

Not my most sophisticated project, this one, but by far the most rewarding in terms of sheer fun and stretching the possibilities for a spray can and a public wall. Aita al-Shaab, South Lebanon lies about 2k off the "front line" with Israel and, as of a month ago, is estimated to be 80-90% damaged. You can wander between bomb-craters and mounds of rubbish (stepping over bits of unexploded ordnance) past houses more than half demolished--and the awkwardly avert your gaze on seeing that whole families are still living in them, under crumpled roofs which hang draped, held up by their metal re-bars, over the half-collapsed sprapnel spattered walls. Others look like huge chunks have been bitten out of them. In Palestine, when a house is detroyed, the family usually moves in with another family. When, like here, 200 such homes are rendered uninhabitable (by any test) most people simply have to stay put. I went there as part of the Samidoun relief network. But work was sporadic, so, between unloading water bottles off trucks and making up food parcels, I thought up something for the local kids. A lot of people in NGO/activist circles are talking about "art therapy" these days. To me the best therapy can be to fucking hit out at something. After getting the OK I made some big stencils of Bush, Blair, Condi Rice and Ehud Olmert, drawing them onto cartoon animal bodies, as a common form of insult here is to call someone an animal. I sprayed them at night on the smashed wall I'd been given in the town square, as I hoped that the kids would be in bed and that what I had planned for the next day would be a surprise. Halfway through the first piece I became aware that about forty people, of all ages, were standing right behind me in a tight group, glaring intently. Others looked on from the shadows further away. "Not much pressure, then," I thought, peeling the stencil off the wall to a dumb silence. Then, after a few seconds and to my inexpressible relief, they very clearly started to "get it". Laughter burst out up and down the line. Someone found a chair for me to stand on to spray the high bits, supported my back with his hand. Little kids clustered around me and were barked back out of my way by the men. It was pitch dark now so one guy shone his car headlights on the wall so I could see better. Afterwards I gave out some big marker pens. People wrote the charcaters' names in Arabic and a variety of other messages and slogans. We threw a tarpaulin over it and left it till the morning. Next day we fetched buckets of water full of paint-filled balloons and told the 30-or-so local kids that behind the tarp were some of the people who'd caused all the damage. They knew all the names: they didn't need telling. The pictures tell the rest, but I wish they could capture the noise. Condi got the worst of it, by far, and you ca make of that what you will.

Almost a month ago I wrote of reports from Lebanon, especially in the greatly increased bombardments of the final days of the war, of unknown weapons having been used by the Israelis against civilians. Doctors were finding scars and symptons, burns and wounds which they could not identity the sources of. I have been wondering lately a good deal if anything further has been learned about these. I imagine that results of testing and investigations takes time, and so far myself haven't found anything more about what caused the mysterious, often lethal, wounds. If anyone has any information, please let me know. I do enclose below some photos from MAG (Mines Advisory Group; co-laureate, 1997 Nobel Peace Prize) the only Non-Governmental Organization searching out and detonating bombs and mines in Lebanon since 2000. (When the Israelis left then, they refused to hand over any information regarding the tens of thousands of land mines they left behind them. These have been killing civilians ever since.) Among the bombs being found and detonated are thousands of cluster bombs. Though Israel had denied using these against civilians, over two hundred sites have been found where they were dropped. Those that do not detonate on impact, lie waiting until a push or shaking explodes them. In the month since the cease fire many children continue to die from these. (Check out their latest update today re village covered in bomblets.)http://www.mag.org.uk

The first two images of my own above I am repeating from last entry. The one with little human figure aloft in space/sky was part of a small series made that night. The others included the one below, done with simple blue environment. For some reason even making them by light of a half-moon and a street lamp some distance away--working on bluff in Park overlooking Lake Michigan--they made me think of Near Death Experiences. I had one of these the first time I broke my back, in an accident in which a truck I was passenger in went off a bridge, dropped forty feet on to rocks and shot up into woods, crashing into large trees. I didn't tell anyone what had happened to me as didn't know about Near Death Experiences being fairly common until some years later. The only thing I did know is that while doctors were telling my parents I would die shortly, I knew I would live. It was only this morning that it dawned on me that at almost the exact time and exact date the other night making these--was the anniversary of that accident.Around dawn this morning found on line the fotos of works by UK stencil artist and relief worker Arofish, especially these made in Lebanon featuring kites. The kites reminded me of the flying figure I'd made--so another connection running through the concerns with art works and Palestine and Lebanon.Arofish has an amazing site. These stencils are from a series which includes albums done in Baghdad and Palestine called "Scrawls of War". (Really struck me as have been doing my own series of "The Dead See Scrawls" for some years--the linking of scrawls with environments of death and war.) Arofish is also an active relief worker and chronicles many events connected with his art making and at his site. Check out the Baghdad album for harrowing story of his days under arrest by the Americans. I contacted him for permission to use the images and he wrote is currently very busy with both his relief and art work in Lebanon. A truly inspirational commited activist artist.His site is: http://www.arofish.org.uk

I am adding several Arab-American and Palestinian Hip Hop addresses to the Links section and will write about them next entry. For now check out the video "Hala" N.O.M.A.D.S. vs. Philistines

d-b chirot (last three part of on-going series "war torn wall writings")

from AROFISH'S THE SCRAWLS OF WAR LEBANON Album

Dahyeh, August 25, 2006, one of the most bombed out areas in Berirut, asked by local people to paint something happy, to reflect the spirit of the community. Consider that at the time of writing, there are still whole streets of indiscriminate wreckage. Shops, apartment blocks, houses: rubble. The dust is thicker than a London fog and the machines have barely started to scratch the surface under which there are sure t still be some of the dead. If I wasn't invited to do this then I wouldn't have. Before starting I banged up a piece of explanatory text on the wall, for which thanks go to Ghassan for the translation into Arabic. It reads: "When Ramallah, in Palestine, is put under curfew by the Israeli Army nobody goes outside for days. The streets look completely deserted. But from a tall building, if you look out over the city, you can sometimes see hundreds of many-coloured kites, flown from the roof terraces by the children of Ramallah. The children you can see here are flying kites to celebrate the spirit of the people of Dahyeh. Some kites you can see are flying away. These are for the children who are no longer here; they are no longer held down to the earth."

Photos from MAG site of ongoing live bomb detection and detonation in Lebanon

How I Fought to Survive Guantánamo By Patrick Barkham

How I Fought to Survive Guantánamo
By Patrick Barkham
For nearly six years, British resident Omar Deghayes was imprisoned in Guantánamo and subjected to such brutal torture that he lost the sight in one eye. But far from being broken, he fought back to retain his dignity and his sanity.
http://www.informationclearinghouse.info/article24468.htm

Torture Team Cards

Gleb Kolomiets of Slova journal just put on line my ZERO POEM/POEM ZERO with the Visual Poetry score synched to the Sound Poetry--of the performance--many thanks to Gleb more than i can say and i hope some of you may enjoy this--

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The New Extreme Experimental American Poetry & Arts--Necessity is the Motherfucker of Invention

"As usual, the only symptoms we had were in the language."--Pier Paulo PasoliniTo degenerate as a result of the use of torture, & by its concealment & deception question human dignity & individual rights--

In the first lines of his Introduction to Torture: Cancer of Democracy France and Algeria 1954-62, Pierre Vidal-Naquet asks "Can a great nation, liberal by tradition, allows its institutions, its army, and its system of justice to degenerate over the span of a few years as a result of the use of torture, and by its concealment and deception of such a vital issue call the whole Western concept of human dignity and the rights of the individual into question?"

To fit in with the change of events, words, too, had to change

In The Peloponnesian War, Book 3, Thucydides states:"To fit in with the change of events, words, too, had to change. What used to be thought of as a thoughtless act of aggression was now regarded as the courage one would expect to find in a party member; to think of the future and wait was merely another way of saying one was a coward, any idea of moderation was just an attempt to disguise one's unmanly character; ability to understand a question from all sides meant one was totally unfitted for action; frenzied violence came to be considered an attribute of a real man. "

Necessity is the Mother of InventionThese entries are ongoing found materials with which one works on various projects. They are an Anarkeyology of Site/Sight/Cites in which, by relinking the Military & Art meanings of "avant-garde," are found different ways of investigating separations, Walls, silences, distranslations, forgeries, torture, "Newspeak," censorship and propaganda as elements common to both war and writing/art historically & in the USA & Globally today.

The finding of these materials and the questions they open are, I find, "necessary," as the Formal separations of the American "avant-gardes" from the Military & external/ internal imperialist realities that are among the "symptoms . . . in language" that Pasolini notes "we (have) to go on."

Separations in, of, and by language are "necessary" to Vidal-Naquet's "concealment " of "torture, cancer of democracy," whose "deceptions" erect barriers, Walls, prisons, "Security," Surveillance between not only the torturers and the tortured, Occupiers and the Occupied, but between actions and words, so that a culture conceals itself from itself.

Materials & questions that are "necessary" to examine separations, concealments, deceptions that are "necessary"--and are Hidden in Plain Site/Sight/Cite

"Necessary"--to find among the "fictional" and the "factual," among street debris and the debris of Poetry, Writing & Arts, Street & Protest Arts and Actions, News Reports, Torture Documents , Prisons . . . the" failure to communicate" that haunts the Prison //Security//Surveillance System of Cool Hand Luke's"Boss Keane's Ditch" and daily covering more of the world. These interconnections and relinkings, the symptoms in language, is a work found by what I call "Necessity, the Motherfucker of Invention."

In The Moro Affair, Leonardo Sciascia writes:"Indeed when the truth which had been confined to literature emerged harsh and tragic within the context of everyday life, and could no longer be ignored, it seemed as if it were a product of literature."

This "truth" " is something so "obvious"that it becomes treated as a separation, a "fiction," rather than a "real, true fact."

To work with the "Hidden in Plain Site/Sight/Cite" can in this way be considered a "fiction," compared to the "reality" of a Formal Separation which is "immune to these things."

Sciascia notes the "Hidden in Plain Site/Sight/Cite" in using an expression from Poe's "The Purloined Letter:"

"(W)hat we called the invisibility of the obvious . . . (from Poe's Dupin) . . others have called over-obviousness . . . an obviousness linked to other obviousnesses , all of them conforming to a . . . concept of the clandestine."

This "invisibility" is separated from the "real, true fact," which the account and appearances of events create as the version that is "believed" to have occurred.

Sciascia quotes a dictionary:

"One says: a real true fact. and such like. Real in this case seems to reinforce true, not simply as pleonasm but thus: a real true fact hasn't simply occurred but it has occurred as it is told, as it appeared, as it is believed . . . "

The separation of "what is told, as it appeared, as it is believed" from what is "the invisibility of the obvious" allows for the concealment and deception Vidal-Naquet writes of.

The entries here may be read as the raw materials ofas an examination of these separations, symptons in language, and finding ways to link them in the term common to the military & ar t"avant- garde" in Necessity the Motherfucker of Invention's "New Extreme Experimental American Poetry& Arts.

"Waterboarding"--Brief History of a Word, a Practice

If the word torture, rooted in the Latin for “twist,” means anything (and it means “the deliberate infliction of excruciating physical or mental pain to punish or coerce”), then waterboarding is a means of torture. The predecessor terms for its various forms are water torture, water cure and water treatment.
The early phrase Chinese water torture described a cruel ordeal invented by Asian ancients. The purpose of slowly dripping water on the forehead until each little splash became unbearable was not “to elicit information through harsh interrogation” but to drive the victim mad. That phrase outlived its sadistic practice and is in use today, adopted as a metaphor for “repeated annoyance intended to infuriate.” In a 1991 hostage standoff, President George H. W. Bush decried “the cruel water torture of occasional vague promises.”
The water cure was described as the response by some American soldiers to atrocities by Filipino insurgents after our liberation of the Philippine Islands in the Spanish-American war of 1898. At a Congressional hearing in the spring of 1902, the “cure” was described as water “poured onto his face, down his throat and nose. . . . His suffering must be that of a man who is drowning but who cannot drown.” Mark Twain, writing in the May 1902 issue of the North American Review, deplored “the torturing of Filipinos by the awful ‘water cure’ . . . to make them confess.”
President Theodore Roosevelt disapproved, and in 1902 ordered the dismissal of the United States general in charge; in a letter to a German friend dated July 19, 1902, however, Roosevelt was slightly more understanding: to find out which Filipinos committed outrages, he wrote that “not a few” of our officers and enlisted men “began to use the old Filipino method of mild torture, the water cure. Nobody was seriously damaged, whereas the Filipinos had inflicted incredible tortures upon our own people.” T.R. was careful to add, “Nevertheless, torture is not a thing that we can tolerate.”
To more recent times: in 1953, a U.S. fighter pilot told United Press that North Korean captors gave him the “water treatment” in which “they would bend my head back, put a towel over my face and pour water over the towel. I could not breathe. . . . When I would pass out, they would shake me and begin again.” In 1976, a United Press International reporter wrote that U.S. Navy trainees “were strapped down and water poured into their mouths and noses until they lost consciousness. . . . A Navy spokesman admitted use of the ‘water board’ torture . . . to ‘convince each trainee that he won’t be able to physically resist what an enemy would do to him.’ ” In 1991, the columnist Jack Anderson — confusing the phrase about ancient practice with the modern development — wrote of “the Chinese water board demonstration, one of the most dangerous in the Navy arsenal. Water is then poured over their faces by an instructor to simulate prisoner-of-war treatment.” Without the “Chinese” reference, such “simulated drowning” is the method most often used today to describe the interrogation of three suspected terrorists, about which the C.I.A. director recently testified.
The earliest use of the phrase water boarding I can find is in an article about the interrogation of the suspected terrorist Khalid Sheikh Mohammed (often awarded the bogus title “9/11 mastermind”). It was posted on the Web site of The New York Times on May 12, 2004, by James Risen, David Johnston and Neil Lewis, published in The Times and carried worldwide on the A.P. wire the next day: “C.I.A. interrogators used graduated levels of force, including a technique known as ‘water boarding,’ in which a prisoner is strapped down, forcibly pushed under water and made to believe he might drown.”

PalFest 2009 Photo Stream--Latest Updates Added

Palfest 09: "to confront the culture of power with the power of culture"

Monday, May 25, 2009
Palfest 09: Culture vs. Power
The Guardian reports today that armed Israeli police last night tried to halt the opening night of the Palestinian Festival of Literature, organised by Ahdaf Soueif, when they ordered a Palestinian theatre in East Jerusalem to close, claiming that the festival - which is funded by the British Council and UNESCO - had received funding from the Palestinian Authority.
Soueif writes on Palfest's author blog http://www.palfest.org/authorsblog.html
(referring to a famous phrase of Edward Said's):
Today, my friends, we saw the clearest example of our mission: to confront the culture of power with the power of culture.
Authority.
Soueif writes on Palfest's author blog (referring to a famous phrase of Edward Said's):

Today, my friends, we saw the clearest example of our mission: to confront the culture of power with the power of culture.

Despite attempts to prevent the sharing and transmission of culture, Palfest is using all the communications tools at its disposal to reach out -- for videos, photos, blogs and other Palfest updates go here. Here's a video from the opening night:

PALFEST 2009 POSTER

TAKE ACTION--HELP GAZA

Israeli forces ended their offensive against Hamas in Gaza on Saturday, 17 January, following the declaration of ceasefires by Hamas and Israel.

Highlighted below are some of the main buildings identified as destroyed or damaged in Gaza City and the surrounding area as of 16 January, when this latest satellite image was taken.

The image, taken for Unosat at the United Nations Institute for Training and Research, has helped researchers identify at least 566 destroyed or damaged buildings.

The map below shows the main areas attacked in the three weeks of violence.

Palestinian medical sources say more than 1,010 Palestinians were killed in the violence, which began on 27 December 2008. Israel says 13 Israelis died, including 10 soldiers in the campaign and three civilians killed as a result of rocket fire from Gaza.

NO MORE BLANK CHECK FOR ISRAEL! Plz Sign..

cpdweb.org — Campaign for Peace and Democracy sign-on statement. massive military attacks on Gaza, Israel has again engaged in actions contrary to morality, international law, the cause of peace, and to the long-term best interests of the people of Israel. And, once again, the United States government has been the enabler of Israeli actions: [To sign:-http://www.cpdweb.org/statements/1010/stmt.html

Urgent action by the UN General Assembly is warranted and possible.

Israeli impunity must be ended by the collective action of the world community - Plz sign

Roberto Bolano Paris 2001--Homage

Georg Grosz---Dada Death

Waiting for the GuardsWaiting for the Guards highlights interrogation techniques used in the 'war on terror'. The film was made using members of the extreme performance artist troupe who enacted the interrogation scenes for real. The film demonstrates the so called Stress Position and is the first in a series of films focusing on different 'enhanced interrogation' techniques. For now the film is an exclusive for the web, before a theatrical release in independent UK cinemas in early 2008. We believe that the film is a great introduction to the unsubscribe movement, so we ask you to get the movie out there, in any way you can. The more people who will see it, the more people will be compelled to unsubscribe.

Cinema of Catharsis

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Hugo Ball

Anarkeyology of Vision: from Paul Virilio Forward to his "Negative Horizon"

The field of vision always seemed to me comparable to what the ground is for archeological exploration. To see is to be lying in wait for what may spring up from the ground, nameless; for what presents no interest whatsoever, what is silent will speak, what is closed is going to open, it is always the trivial that is productive, and so this constant interest in the incidental, in the margins of whatever sort, that is, in the void and absence.

Lawmakers and government investigators are examining deaths of immigrants who die while in custody as immigration detention system swells to meet demands for stricter enforcement of immigration laws; family members and advocates have difficulty getting information about those who die in custody of immigrant detention, patchwork of federal, private and local facilities; new Immigration and Customs Enforcement report finds that 62 immigrants have died in custody since 2004; immigration officials ...

Edwin Bulus, who fled Nigeria after members of family were jailed for allegedly plotting coup against military regime, has been detained by Immigration and Naturalization Service since arriving at Kennedy International Airport in May 1995, and his treatment has sometimes been harsh; is accused by Federal Government of entering country with false documents, and has since been denied parole while request for asylum is pending; asylum advocates describe handling of case by immigration service as K...